盛唐、“盛唐气象”与盛唐美学思想

The Prosperous Tang, Its Flourishing Scenery and Aesthetic Thought

若从审美活动的整体构成着眼，盛唐时期就并非如有些论者所认为的，是隋唐美学或整个中国美学思想史的低潮或沉寂阶段。相反，它是隋唐前期审美文化和美学思想空前兴盛与繁荣的阶段，在艺术审美的许多领域里，盛唐都具有它的创见性，既实现了对其时代艺术审美的理论自觉，又产生出对其以后美学思想的开启作用。而“盛唐气象”更将中国古典审美文化推向了雄浑与秀丽统一、“风骨”与“兴象”并重的丰厚境界和最高巅峰，并以其充盈圆熟、高苍浑朴的博大精神及多维指向，开启着中唐时期、甚至整个隋唐后期艺术审美的历史转换和更新。

Seen from all the aesthetic activities the prosperous Tang was not, as some people think, the lowest tide of the aesthetics of the Sui - Tang Dynasty and the aesthetic thought of China, but the most flourishing period of the aesthetic culture and thought of the early Sui - Tang Dynasty. In the various fields of art and aesthetics the prosperous Tang had its own creativity, which not only concluded artistic and aesthetic theory but also influenced later aesthetic thought. Moreover, the flourishing scenery of the prosperous Tang set foe classical aesthetic culture of China to the forceful and elegant summit at which 'Fang - gu' (风骨 ) and 'Xing - xiang' (兴象) existed side by side, and it also led to the turn and reform of at and aesthetics of the late Sui - Tang Dynasty.